Getting the Most out of Yamaha Recording Customs

[Slap Back]

I'm recording hard rock/metal drum tracks with Yamaha Recording Customs in a small dead room.

What type of heads/tuning/muffling will let the drums (kick and toms) put out as much wet tone as possible while still maintaining a very sharp attack?

The idea being to use the drums' natural resonance and sustain as natural recorded ambience to get a fuller, richer sounding drum track.

If anyone has any mic or micing arrangements to share as well I'm all ears

[Nutmeg II.]

I would say go with double ply heads like Emporers on the batter side and Ambassadors for the resos.

Tune both sides to the lowest possible tone. Like the results?

If not tune the reso a step higher. This should get you a more solid tone, wile the batter head still gives you a fat attack.

Tuning the batter head will give you a less wet attack. but at one point things can sound realy resonat (when both heads get into the resonance frequency of the shell).
Than isn't what would be a rock or metal drum sound cliche, but than again, if it fits the song.

For a big sound try to tune the drums in relation to each other (think power chord).
That should give you sympathic resonacs from all drums when you strick one.

Did that make sence? I don't know.

[Slap Back]

Originally Posted by Nutmeg II.

I would say go with double ply heads like Emporers on the batter side and Ambassadors for the resos.

Tune both sides to the lowest possible tone. Like the results?

If not tune the reso a step higher. This should get you a more solid tone, wile the batter head still gives you a fat attack.

Tuning the batter head will give you a less wet attack. but at one point things can sound realy resonat (when both heads get into the resonance frequency of the shell).
Than isn't what would be a rock or metal drum sound cliche, but than again, if it fits the song.

For a big sound try to tune the drums in relation to each other (think power chord).
That should give you sympathic resonacs from all drums when you strick one.

Did that make sence? I don't know.

Yes it does.
Thank you.
Nutmeg II, please elaborate on where and what size hole to put in the reso kick head, what muffling inside the kick and type of mic(s) and mic positioning on the kick?

[Nutmeg II.]

I usualy try to place the hole in the reso as close to the muffle ring of my Reso as possible, leaving just 1cm between it and the hole.

A head has it's fundamental note close to the center and the closer you get to the rim the more overtones you get.

If you cut dead center, it will A.) make the fundamental note disapear and B.) let the most AIR out of the kick.
In both cases you lose the fatness.

The size matters to, the bigger the hole the less tone the reso will bring into play.
In fact on a 22" kick haveing a hole larger than about 7" will take the reso completely out of the equation.
I usualy keep the hole around 4".

With the Recording Customs I would recommend trying to go with no hole first to get some body.

Keep muffeling low and try to muffel only one side at first.

For metal I would once again use a Beta91 inside with something on the reso for the balls (SubKick, Ribbon, LDC, (a Beta52 does sound surprisingly well here)).
If you get the kick sound right you can do it with just one mic inside the hole (paralell to the shell).

Mic placement will depent much on your room, the set and the drummer so you got to try it your self. Yet best is to sit in the CR and let the assistant move the mics.

[deve]

thinner heads like ambassadors have more tone. You want fat go with pinstripe. emperors are in between.

[Slap Back]

Originally Posted by Nutmeg II.

I usualy try to place the hole in the reso as close to the muffle ring of my Reso as possible, leaving just 1cm between it and the hole.

A head has it's fundamental note close to the center and the closer you get to the rim the more overtones you get.

If you cut dead center, it will A.) make the fundamental note disapear and B.) let the most AIR out of the kick.
In both cases you lose the fatness.

The size matters to, the bigger the hole the less tone the reso will bring into play.
In fact on a 22" kick haveing a hole larger than about 7" will take the reso completely out of the equation.
I usualy keep the hole around 4".

With the Recording Customs I would recommend trying to go with no hole first to get some body.

Keep muffeling low and try to muffel only one side at first.

For metal I would once again use a Beta91 inside with something on the reso for the balls (SubKick, Ribbon, LDC, (a Beta52 does sound surprisingly well here)).
If you get the kick sound right you can do it with just one mic inside the hole (paralell to the shell).

Mic placement will depent much on your room, the set and the drummer so you got to try it your self. Yet best is to sit in the CR and let the assistant move the mics.

You mentioned a muffle ring- what model of kick heads are you referring to (batter and reso)?

[Nutmeg II.]

Originally Posted by Slap Back

You mentioned a muffle ring- what model of kick heads are you referring to (batter and reso)?

I am using a Remo PS3 black reso head.
Using PS3 on both sides of the kick should enable you to keep the muffeling of the kick at a minimum. And that will get you more sound out of the kick.